Doesn't Anybody Get it Right?! Carrie! Carrie!

Like most people who have any credibility when it comes to talking about musical theater, you should all know about Carrie, the notorious 1988 flop musical that was one of the biggest disasters of all time. Don't know about it? Read here, and watch this. Back? Okay, now to the good stuff.

The show centers around Carrie White, an outcast with an extremely religious mother, who has not really experienced the ways of life. After gym class one morning, whoops she has her period in the shower. Carrie starts freaking out and thinks she's dying, while the other girls throw tampons and maxi pads at her. Cue the gym teacher Ms. Gardner coming to her rescue and excusing her for the rest of the day. It's nice to see that some things never change, teen girls are bitches. Then we meet (well meet her as more than a spotlighted interview) Sue Snell, and guess what? She's a human and she has remorse! Aww she feels bad for making fun of Carrie and playing pin the tampon on the bloody towel along with the rest of the girls. So she's like "How can I apologize without being a total bitch."

Carrie goes home and we meet her crazy ass mom, who is like "Ut oh, Carrie, you're a woman now! You know what that means, I have to make sure no one taints you like they tainted me, so let's pray out your period girl!" Oh she also locks Carrie in a closet for having her period and then Carrie is all like "Look at me, I just discovered I have mind powers! What, watch me make this Jesus statue float!"

The next day, Ms. Gardner makes all the girls apologize for throwing tamps and pads at Carrie when she was bleeding all over herself. And one girl Chris, who is a bitch, is like "Hey Carrie, Eat Shit!" And guess what happens!?! Guess! Well fine, Chris doesn't get to go to the prom with her gayish boyfriend, she's banned, and instead of taking it out on Ms. Garnder, she's like "Carrie it's your fault!" (it's totes not, it's Ms. Garnder's fault, she's the one who banned you from the prom!) and Chris is going to get back at Carrie if it's the last thing she does (spoiler, it is!).

While all this nonsense is going on, Sue is like "Hey Tommy, my boyfriend, want to do me a solid? You do? Okay, well take Carrie to Prom! It will change her life forever! She deserves something nice!" So Tommy, like any teen boy looking to get a handful of boob and or the promise of sex is like "Alright! Fine!"

Cut to Prom night, Carrie's mom is like "Oh noes, Carrie is going to get pregnant! So I better kill her!" Carrie is like "Mom I still love you, but guess what?! I have magic powers, so you know, you can't stop me from murdering a bunch of HS students, I mean, go to prom!" So Carrie makes Tommy wait for a ridiculously long time at the door, and then they head off to prom together!

At the prom, remember when Chris was like "Carrie WHITE! GRRRR!" like Captain Kirk yelling "KHAAANNNNN!" Well she's hung a bucket of pig's blood over the stage and rigged the prom king and queen election so that Carrie wins. So guess what!?! Carrie and Tommy win prom king and queen, and pig's blood rains down on her! Dun Dun Dun! So Carrie kills everyone at the prom! Even the teachers! Sorry Ms. Gardner, it's your fault too!

Carrie comes home soaked in blood, her mom stabs her, she kills her mom, then she dies in Sue's arms! Awwwwww the end!

Okay, so the production was on a very minimal set, from the looks of it, much better than the stark white weirdness of the 1988 production. They also seemed to have toned down the campy aspects of the book, and tried to focus it more on exploring the humanity of the characters rather than making everyone a caricature of a HS student. Though I don't think this show can ever be as thoughtful as something like Spring Awakening.

The stark multilevel set, which was enhanced with projections as opposed to set pieces, was simple and effective. It was most effective in the last 20 minutes of the show when Carrie goes on her rampage, with lighting used to stimulate the blood drenching as opposed to actually having her being doused in blood (although that would have been amazing albeit a pain to clean up).

The cast, the cast, the cast! Molly Ranson was every bit as compelling and demure as Sissy Spacek in the original film version. The venerability and sensitivity that she brought to the role led the audience to cheer (if not audibly) for her when she murdered everyone at the prom. Hopefully this show gets recorded so people can hear her amazing interpretation of the score.

Marin Mazzie as Margaret White, Carrie's domineering mother was a revelation. The role could be easily overdone if not in the right hands, but Mazzie's interpretation was so spot on, that I wouldn't want to meet her in a dark alley for fear she would stab me to death.

Christy Altomare as Sue Snell, the well meaning, yet misguided classmate brought a tenderness and eagerness to the role. Her voice was amazing and she made what could have been an overplayed character into a likable heroine.

The rest of the chorus and cast including import Jeanna de Waal as the villainous Chris and Ben Thompson as her boyfriend Billy seemed to be playing to the obvious versions of the villains in the show and not exploring them more making them three dimensional. Derek Klena as Sue's boyfriend Tommy was cute and charming as the ill-fated suitor who accompanies Carrie to prom, and as gym teacher Ms. Gardner, Carmen Cusack brought a sensitivity and great chops to the part, making me wish they would have utilized her more in the show.

Overall the show was good. I would like to watch the original production to see how far they have come. It seems that this production could still use a bit of tweaking but overall it was an enjoyable theater experience.

Carrie the Musical 3 out of 4 stars

Carrie is currently playing at the Lucille Lortel Theatre through April 22, 2012

121 Christopher Street

New York, NY 10014

For Tickets Click Here

Love Never Dies, But Someone Does!

After witnessing The Phantom of The Opera live an in person, I decided that I needed to see the sequel since you know who likes a tale of murder and rape love more than me? So finding myself without enough money in my bank account to travel to Sydney to see the production of Love Never Dies live and in the flesh, I was delighted to see that there would be a Fathom events production of the show broadcast for two shows only. So myself along with friend and fellow theater blogger/vlogger, we set off to see the spectacle that is as Andrew Lloyd Webber put it "my most complex and beautiful work."

So the show starts out 10 years after the original with the Phantom alone on stage singing a song about how Christine ruined him for forever, and that no song he ever writes will ever be the same again, unless she sings it. Alright, alright, calm down Phantom your music is too complex and no one understands it, and I doubt the beautiful singing of Christine can salvage it. We soon learn that the Phantom is loaded, like dolla dolla bills y'all loaded. He owns a vaudeville freak show in Coney Island (yes there is a little person in the cast, who is more or less used as a human prop), and guess who the star of his show is! You'll never guess, okay I'll tell you, Meg Giriy! Remember her? The girl who holds up the mask at the end of the first one? Well she grew up, and aged 20 years (or 30), and she's a singer now, hoping for her big break, will she get it? Who knows!

After Meg does her weird dance/song thing, we learn that Christine and Raoul are coming to America (oh PS Christine is a mega star now! Like huge, everyone knows her), to sing at the opening of a new opera in NYC, but wait! The Phantom tricks her into performing at his vaudeville show instead. Oh and guess what? Christine now has a German son named Gustav, and guess what, he's musically gifted! Could it be? Could it? Is it The Phantom's son?! Anyway, Raoul lost all his money and Christine is all like "don't worry baby, with my skills I'll take care of you!"

Then came one of the most head scratching moments of all, a weird love duet between the Phantom and Christine. My impression in the first show, is that Christine was mesmerized by the Phantom, she was not in love with him, he used his power over her to manipulate her, and eventually raping her, he raped her remember? Do you, cos he did. Anyway, in this new show, Christine is actually madly in love with the Phantom and willing copulated with him. Uh alright, that's fine throw out major plot points, and make it a new story, okay.

So after the Phantom and Christine are all over each other, Raoul is like "I'm going to make a bet with the Phantom, about who Christine loves more." Yadda, yadda, yadda, long story short, Meg doesn't get her big break, Christine sings a weird song dressed as a peacock, and then bam someone gets shot. The end, I would describe more, but it's time to get to the critique.

Okay ALW, I get that you have some of the most successful musicals of all time, and you know what, it's okay to stop writing musicals, it really is. I promise. You've lost touch with reality, your ego has gotten so large that you think you can do no wrong, but you have, oh you have.

The score sounds like all the throw-away songs from other musicals, the overproduced scores that you are known for, it's a mess. And Glenn Slater, your lyrics are lazy, like you weren't even trying, you gave everyone expected rhymes and cheesy lyrics. I cannot fault the performers since they went above and beyond the material and elevated it to something (albeit a bad something, in less capable hands, the show would have been an even bigger mess).

Your characters, all your characters did a 180 from the original production, Phantom is still crazy yes, but Raoul turned into a mean drunk, whereas before he was a loving person who fought viciously to protect his soon to be bride from a rapist and murderer. Christine turned into an idiot, in the original production she was sort of strong and stood up for herself, and was like "Uh Phantom you raped me but I forgive you, you are a victim of circumstance, but you're still bad, so no we're not bf/gf." Meg turned from innocent dancer into a weird crazy bitch who was jealous of everyone and ends up killing someone! What?!

I don't recommend seeing this sequel. If you're a die hard Phantom fan you will probably be disappointed since the music and plot do not live up to the original.

The production probably will not come to NYC, so if you want to see it, you'll have to fly to Australia.

1 star out of 4

Phantom of the Opera . . . The Legend will Never Die

So after putting it off for 23 years, I finally hauled my ass over to the Majestic Theater to see the longest running Broadway musical of all time, The Phantom of the Opera. I can see why the show has been running for as long as it has, it's a convoluted story in which the audience is blinded by sparkles, flashes, and a slow moving chandelier.

The story: Christine Daaé is a young dancer in the core of the Paris Opera, who has secretly been taking voice lessons with Erik (although we never learn that that's his real name) aka the Phantom, and guess what? She gets a chance to show her chops when the Opera's leading lady Carlotta gets all freaked out when a piece of scenery drops unexpectedly. So Christine sings some song about thinking of her when a guy is off to war or something. During her cray-cray performance her old friend Raoul is there, and guess what? He's a millionaire who has decided to finance the Paris Opera! Whaaaaat?! Crazy!

Anyway, Raoul goes back to Christine's dressing room and is all like "Oh child you were great" then the Phantom is all, who is that trying to get my girl, so while Raoul goes to get his coat or something, the Phantom takes Christine to his lair, under the opera house. She passes out when she sees a wedding dress on a mannequin, and the Phantom is all like "Whoops, didn't mean to freak you out" so he plays the organ horribly and continues to compose his opera and everyone is looking for Christine.

Anyway, everyone gets notes from the Phantom about how respect and his salary must be paid, and then Carlotta is all "Oh hell no! This is my opera fool! I am the star, not Christine!" and then convinces everyone that this is a all a ploy to help Christine become a star.

Long story short, the Phantom kills a bunch of people, shows us his monster face, kidnaps Christine, tries to kill Raoul, then at the end vanishes. Look up the real plot if you're so inclined.

So the production, after having run for 23 years, it is not tired at all. The actors are all really into in. They are also all horrible singers, for the most part. The phrasing of certain notes is completely off and makes Lloyd Webber's score sound weird. I was impressed with the fact that these people some of whom have been doing the show since it opened are still giving it 100%.

The main thing I have a problem with was all the canned music, it was like half the music was canned and the other half was live? Makes no sense. They even managed to have one song that was fully prerecorded and Christine just lip synced the whole thing? Really? I did not pay money to go see a show where the cast lip-syncs! This is Broadway, sing live! That's the point!

All the acting was like community theater acting, you can't schmact the whole show like you're a recent college grad doing summer stock in Kansas. I wonder if the original cast played the show serious, it would have been a lot better if the whole cast was like "This is legit theater, let's all play it as real as possible."

I guess you can't fault the stage managers for instructing their new casts to play it big since most of the people in the audience do not speak English.

The special effects were also pretty crazy, I am sure in 1988 when Christine sat on her half-boat and floated in the lake under the opera house (side note, who builds an opera house on top of a lake!?!!!!), and the "crashing" chandelier (it didn't so much as crash as glide gently towards the stage) were awesome, but now they just seem tired and dated.

Overall the show was alright, I probably wouldn't go back unless someone totally amazing was playing the Phantom and they cast Britney Spears as Christine (since most her part is lip-synced anyway)

The Phantom of the Opera is currently playing an open-ended run at the Majestic Theater which is located on 245 W. 44th Street (btwn 7th and 8th Avenue) tickets may be purchased via Telecharge.

Andrew Jackson He's Our Man

After reading all the glowing reviews I decided that I should probably go see one of the most buzzed about shows of the season, The Public Theater's commercial Broadway transfer of Bloody Bloody Andrew Jackson.

Told through a series of sketches and forgettable songs that don't really move the plot forward. The show does employ a device that I have long missed in the musical theater setting, The Storyteller. Although they never really explain if she is a tour guide, or an Andrew Jackson superfan, who just happens to show up during the middle of a very awkward rock concert. They end up killing her ala Into The Woods, although unlike in that show, she comes back, twice.

The performances in the show are strong, especially Benjamin Walker who is only person who doesn't play more than one role, as Andrew Jackson. He exudes a macho sexuality that although at times can be one dimensional, he manages to capture the audiences attention the whole show. The other stand-out in the cast is NYC improv and sketch mainstay Jeff Hiller in a variety of roles including John Quincy Adams. Hiller manages to steal every scene that he's in, he also received the loudest applause during the curtain call.

The show's main flaws are the songs and the narrative. There were points when the music was playing that I couldn't understand what was being sung. The songs also did not help to move the plot along, they seemed more random than anything else, and the lyrics sounded like they were being made up on the spot. The songs contributed to the problem with the narrative. The narrative was almost non-existent, the book just appeared to be a series of sketches with song interludes. Killing off the storyteller may have not been a good idea, because she could have been the through line that held the book together, explaining what was happening onstage for those of us in the audience who just knew that Jackson was responsible for The Trail of Tears, but not of his dealings with the native tribes before the ultimate end result.

The show ran about an hour and forty-five minutes without an intermission. The show could have been trimmed a little and the book tightened up before it moved to the Broadway stage. Considering how long the show has been in development, the book should have been tight and the narrative stronger. You should go see the show because I have a feeling that Benjamin Walker's star is on the rise, and you can say you saw him when, you should also the show for Jeff Hiller who's comedic styling's are almost custom tailored to him.

Bloody Bloody Andrew Jackson is playing an open ended run at The Bernard B. Jacobs Theater located at 242 West 45th Street, New York, NY 10036. Tickets are available through Telecharge.

photos copyright BroadwayWorld.com 2010

75 Minute History Lesson?

If you have to see one one man show this year, playing at the smallest Broadway theater make it Colin Quinn: Long Story Short now playing at the Helen Hayes Theater.

Long Story Short started Off-Broadway at the temporarily closed 45 Bleeker theater and moved to the Helen Hayes Theater in October of 2010.

I had no expectations going into this show, and no knowledge of what the show was about. That being said, I was pleasantly surprised by Quinn's sharp dialogue and the pacing of the show. Much of the show's fast paced style is probably attributed to the direction of Jerry Seinfeld.

The use of of the multimedia in the show was fun, but at the same time it was distracting. Much of the time my focus was drawn to the giant screen behind Mr. Quinn as opposed to Quinn himself. The blackouts used to distinguish the separation of different periods of history were at times a bit jarring, I am sure they could have used a better device for transitions.

The show although only 75 minutes managed to put to sleep some of the audience members in the theater. It at times could drag, but for the most part the show was very well paced. There was also a pamphlet inserted in the program that reminded people to refrain from "hooting and hollering" which I guess the couple next to me didn't seem to read, they managed to treat the show like a midnight viewing of The Rocky Horror Picture Show and finished lines and talked back to Mr. Quinn.

Sales for the show are not doing well, the balcony to the theater was closed the night I went, and they were moving people to the orchestra, which still had many empty rows.

Overall if you enjoy Colin Quinn's brand of humor and world history then go see this show, and if you're on the fence, go see the show anyway.

Colin Quinn: Long Story Short playing the Helen Hayes Theater at 240 West 44th Street, New York, NY 10036 through January 8th. Tickets may be purchased through Telecharge.

Promise Me That Sean Hayes Will Do More Musicals.

Promises, Promises the first revival of the 1968 show penned by Burt Bacarach, Hal David, with a book by Neil Simon, now in residence at the gigantic Broadway Theater, left me feeling less than fulfilled.

I guess the show itself can't be faulted, because it's a product of it's time, but I can see why it hasn't gotten a major revival in 40 years. The show is very dated, and without script changes to make the show's 60's flair more contemporary, I must say it's a relic of a bygone era.


The only thing that saved this show are two stand-out performances. The first being that of Sean Hayes, making his Broadway debut as put-upon corporate employee Chuck Baxter who lends out his apartment to executives so they can have affairs, hoping that this will lead to promotions. It does eventually, but not before he has his heart torn out when he realizes that one of his bosses is having an affair with the object of his affections Fran(played by Kristin Chenoweth). Mr. Hayes, filling the shoes of the late Jerry Orbach was absolutely fantastic in his first starring role on Broadway. He added a charm and energy to a show that was for the most part dull and lifeless. His voice sounded very tired, which makes me wonder how he'll be able to sustain the rigors of 8 shows a week, but he is forgiven since his character is onstage almost the entire show. Mr. Hayes has a very long career ahead of him as a leading man in Broadway musicals. Hopefully he'll be able to successfully make the transition from TV to stage like David Hyde Peirce did.

The other standout performance goes to Katie Finneran who, in her two scenes manages to make us forget that most of us came to the show to see Broadway star Chenoweth. Finneran plays Marge MacDougall a lush whom Chuck Baxter meets at a bar on Christmas eve after finding out that Fran is sleeping with his boss. She manages to wake the audience up after the sleepy first act, before disappearing and never to be seen again. She and Hayes are the true reasons the show manages to stay afloat as long as it does.

Onto Kristin Chenoweth, I have seen Chenoweth excel in comedic parts where she is able to inflect a hint of seriousness, such as her amazing turn in The Apple Tree a few years ago, but here, I don't know if it's just that fact that she is miscast in the role, or if she is too old to be playing a young naive executive lunch room hostess, but she fails to show the audience any of the star power that made us love her in You're a Good Man, Charlie Brown, or her guest spots on Glee. Add to her flat performance the fact that they shoehorned two extra Bacarach/David songs into the show specifically to beef up her part, and her performance just doesn't add up. While she sings beautifully and acts incredibly, Chenoweth as Fran fails to win any of the audience over, as we soon realize her character is a sad pathetic one dimensional person who can only be happy with the love of a man.

Overall the show was meerly okay, the good performances balance out the bad ones and the out of date book. The show would have succeeded more had they brought in a new bookwriter to update the sexist reference and made them more tongue in cheek and less blatant and offensive.

Promises, Promises
Broadway Theater
1681 Broadway(at 53rd Street)
New York, NY 10036
Tickets: 212-239-6200

Book: Neil Simon
Music and Lyrics: Hal David and Burt Bacarach

I'll Wait for the Rapture if it's Like This!

I had the immense pleasure of being able to see Sherie Rene Scott's amazing one woman show Everyday Rapture which officially opens today at the American Airlines Theater.

First off I will say that in the past I have not been a fan of Scott's voice, I find it to be grating and very nasal. But live the nasal qualities of her voice that come through so strong on her recordings are not as pronounced. That being said, Scott won me over as a new convert.

Her show is a pitch perfect blend of popular songs and amazing storytelling. It never once felt like I was watching a one person show, which can sometimes drag an get boring as the performer tells tales of themselves and how great they are. I feel that the reason why the show doesn't drag, is because it isn't structured like a normal one person show, with bits and stories leading into songs from the performer's career, it's structured as a musical, with a story line and songs that help move the plot along. The show tells the story of Scott's upbringing in Kansas and how her family was half-Mennonite or as she refers to it as Amish Light, and her road to the Broadway stage.

The standout songs are a version of "You Made Me Love You" sung to a montage of pictures of Jesus and "My Strongest Suit," I would explain more about "My Strongest Suit" but I want everyone to go see it for yourself, because it was that amazing, and no words I can write would do it justice.

The show is filled with humor as well as touching moments, like Scott's story about her favorite cousin who died of AIDS.

Something must also be said of the supporting cast as well, which includes Lindsay Mendez and Betsy Wolfe as Scott's back-up singers the Mennonettes and Eamon Foley as a superfan(he plays a part in "My Strongest Suit" that's all I'm going to say) who were all fantastic and amazing!

So like the title of this post suggests, if this is what the real rapture is going to be like, then sign me up! As for all of you, get your asses down to the American Airlines Theater before July 11th to see this show before it closes it's limited run and you'll never be able to see it again.

Everyday Rapture
American Airlines Theater
227 West 42nd Street
New York, NY 10036
Tickets: (212)719-1300

Book by Sherie Rene Scott and Dick Scanlan
Directed by Michael Mayer

The Little Trainwreck

I was lucky/unlucky enough to catch a performance of the newest Disney musical to tread the boards of the Great White Way, The Little Mermaid. Before I get into the nitty gritty, I would like to say that I went into this show knowing about the bad reviews, and I pushed them aside and went in with an open mind. That being said here goes . . .

A little back story, the show based on the Disney film of the same name, based on the most twisted Hans Christian Anderson morality story(it's how I would classify it), regards a young mermaid in this case Ariel, who is strong willed and adventurous, who seeks more for herself. She ends up saving a human, or a prince rather, and singing at him, he gets a boner for her voice and vows to marry her. Awwwwwww! Anyway, she trades her voice for a pair of legs, and tries to woo the price into kissing her before she turns back into seafood. Easy enough right? Wrong! Her Aunt the evil sea witch Ursula wants to teach Ariel's daddy King Triton a lesson, so she sabotages every chance Ariel has to make it with Prince Eric! Dun dun dun! Then some shit goes down, Ariel triumphs over evil and all is well with the world. The end! Now we can walk all day in the sun cos we're part of your world. Blah blah.

Okay this show is flawed on so many levels. The only things it has going for it are 1. It's Disney's most successful Princess property therefore translates well into profits from merchandising(they had a hairbrush that looked like a fork for christs sake!), and 2. The wonderful new additions to the already perfect score. Mainly "S
he's in Love" and "If Only(quartet)". The rest of the show is pure garbage.

The main problem with the show was the horrid staging, set design, costumes, choregraphy, special effects, oh everything. First off the staging, I get that you didn't want to use wire work to simulate swimming, I get that I do, but heely shoes, really? REALLY! Come on now! It looked retarded that the "mermaids" would run across the stage and then lean back on their heels and "glide" on the stage. It was the worst for Sierra Bogess, who played Ariel, she kept waving her arms to make it look like she was swimming, but she looked like she was trying to keep her balance. The rest of the staging was so random, like people would just kind of walk out and hang around then walk off stage. Uh what? Have a purpose with your directing Francesca Zambello, you're a hot tranny mess! All characters no matter how small or how non-speaking they are should have a purpose. And the wire work(when they had it), only worked once. The worst was when they had a double for Ariel's transformation into a human, and she/he? was about 15 lbs heavier than Sierra, and looked awkward kicking and flailing. And the big sea witch attack, when the tentacles burst out of the sides of the stage, that was so retarded! I think my reaction was something like "LOL what?"

The costumes! Yikes! Yikes! Yikes! The worst costume was Flounder's by far, a over sized yellow shirt with blue dots, and fins sewn on, and over sized shorts, and yellow underarmour. Yeah he looks like a fish? And Scuttle's costume, he looked so embarrassed, in fact all the cast members looked embarrassed. They would come onstage and be so self-aware that they looked retarded. I felt terrible for them. And the mermaid costumes, they were basically a tail sewn on to a skirt made to resemble seaweed or something? I don't know. And they all looked retarded. Like not just one mermaid, all of them! That is the one thing they should have redesigned from previews in Denver. They didn't even think about the bad notes they got, they were like "It's Ariel people will see it no matter how crappy it is" I guess.

The choreography, yikes! At least with The Lion King, Mary Poppins, and Beauty and the Beast you had some semblance of someone who knew what they were doing. Puke! The most exciting number in the movie "Under The Sea" turned into this lackluster weird movement exercise. I wouldn't even call it dancing, they kind of loafed around and sang. I was so disappointed. I don't really know what else to say, but that that song, had so much potential to be a showstopper, but it failed. And "Kiss The Girl" I wasn't sure where to put this, because it's failure is a combination of factors, direction, choregraphy and costumes, there was someone who had weird abnormal frog puppets that were so distracting, and the see through tops on a lot of the dancers was terrible. Another instance where I can tell the performers were just embarassed and felt horrible so they just kind of gave up. So sad.

The performances, at least this can be a somewhat positive section.

Sierra Bogess as Ariel is what she is meant to be, pretty, charming, decent actor, and acceptable singer. Was she fantastic, no, was she good, yes. She embodied what the little girls in the audience wanted, a pretty girl with a nice body who gets the boy by being herself. Awwwwww.

Sherie Rene Scott was fantastic as Ursula! I kept wanting them to have them do more evil scenes because she by far the most fun part of the show. Funny, and amazing. More Ursula, less Ariel!

Norm Lewis was kind of lackluster as Triton, he just kind of stood there and had a pretty voice that's it.

Alan Mingo, Jr. , stepping in for an injured Titus Burgess excelled at Sebastian. He was funny and charming, sweet without being condescending, and had an incredible voice.

Brian D'Addario was cute as Flounder, showcasing his pipes on "She's In Love" recieving the loudest post song applause, I guess are always impressed with little kids can belt. Oh well. He's a kid so I am not going to say anything bad about his performance, and there wasn't really anything bad to say anyway.

Sean Palmer as Prince Eric was kind of generic, nothing special.

Eddie Korbich as Scuttle was fun, even if he did play him off to be kind of retarded. Scuttle isn't retarded he's just misinformed. That's all.

One more thing about the production, the ending, which is different from the movie, was so anticlimatic. In the movie there is a showdown, here, it is just kind of like "Okay well that's that, Ursula is gone" Uh what? No! Be cool, don't just Ariel be like "I'll break your shell" and then she does. Messed up. Yeah anyway, unless you can get a ticket for free, don't go see this show.

A Little Brains, A Little Talent . . .

If you are lucky enough to go see the NY stage debut of Sean Hayes in the City Center Summer Stage production of Damn Yankees, please do so right now!

There are so many wonderful things about this new production, but first a little background, Damn Yankees, is based on the novel The Year The Yankees Lost the Pennant, a Faustian tale of a die-hard baseball fanatic Joe Boyd who will do anything to see his beloved Washington Senators walk away with the Pennant. His pleas happen to be overheard by the devil aka Mr. Applegate, who is willing to make Joe a strapping 24 year old phenom and get him on the team to help lead them to the Pennant. Joe being the salesman that he is, says he won't make the deal unless there is an easy-out clause, something that Applegate doesn't normally do, but concedes this one small rider for Joe.


I would go into more plot detail but I think you should go see the show to see how it ends. Now onto the performances, Randy Graff was perfectly cast as Meg Boyd, Joe's ever strong wife who has some of the most touching moments in the show, I am familiar with her name, but not her work, and this being the first time I have seen her perform I was entranced by her stage presence and her lovely voice especially in her higher register.

I was sad to hear that Ana Gasteyer hurt herself prior to rehearsals because I was looking forward to her take on Gloria, but they did manage to find a replacement in Megan Lawrence, whom I found to be a little weak during the normally powerhouse number "Shoeless Joe" the song required more of a powerful voice and Ms. Lawrence managed to too small to fill out the role the way that Gasteyer could have. The one positive thing I must say about Ms. Lawrence is that she has great comic timing and her dry delivery and amazing comic ability fleshed out the part of Gloria and made up for her lack of a powerhouse voice.

Cheyenne Jackson as Joe Hardy was amazing, he brought a naivete to the role that I don't think previous Joe's have brought to the role. I have only heard Jackson sing in his legit voice once when I saw him go on as Trevor Graydon in Thoroughly Modern Millie, so to hear him sing in his amazing Baritenor was something that I won't soon forget. It also seemed that Jackson was as excited to be performing on stage as Joe was playing for his beloved Senators, which made him amazing to watch.

Jane Krakowski I felt would have been a better Lola had there been more rehearsal time. She had as Lola sings "All her aces, in all the right places" but there seemed to be something else lacking in her performance. It could just be that part is so iconically associated with Gwen Verdon who preserved her performance on film that it is hard to see anyone else tackle the role, or it could have been that Ms. Krakowski has to have some more time to get her stage legs back in proper shape. But she was still outstanding. For only three weeks rehearsal she managed to have most of the dances down(original Fosse choreography and all) and her singing was good, but like I stated before, for such a huge role with so much dancing I feel she would have succeed if she had a longer period of rehearsal, so if the show does transfer to Broadway, they would be wise to use the same cast and drill the hell out of the choreography.

Sean Hayes, Sean Hayes, Sean Hayes, he was perfection as Applegate, he brought the best comic timing to the role that I have seen so far. So he doesn't have the best singing voice, but he makes up for it everytime he has a line on stage. The best moment of the show is "Those Were The Good Ole Days" where Hayes accompanies himself on the piano(yes it was him playing, he majored in piano performance in college). I don't want to ruin anything, because it has to be seen to be believed. He would surely get a Tony nomination if the show transferred to Broadway.

A lot of the show is very dated, the choreography, some of the jokes, and some of the numbers. You can tell when watching it that Lola was created for one person the way that they structured the songs around Gwen Verdon's talents, and having a number that is not necessary("Who's Got The Pain"), it is just put in to show that Verdon was an amazing dancer. I am not sure that if this show were written today it would have survived amongst the Wicked's and Legally Blonde's of this world. But overall the show was fantastic and I hope it makes a commercial transfer to Broadway later this season.

(Photos copyright Broadwayworld.com 2008)

Ben, The Two of Us Need Look No More!

The above image pretty much sums up Ben at The Harry Warren Theater in Brooklyn. That is all.

Goodbye Glory Days

Glory Days has closed after one regular performance.

I feel a little bad that it closed, but not totally surprised. All of the reviews were not very positive towards the production. They were encouraging for the creators, which was admirable. I wish the two young creators all the best of luck with their future creations and I hope they take Glory Days as a learning opportunity, and build on what didn't work in the production and make a good show the next time around. And maybe not take the first Broadway chance that jumps out at you, it's not bad to start off-Broadway and work out the kinks. Best of luck boys.

"Other Human Beings" should stay away from this mess!

I don't really know what to say about Glory Days the new musical taking up residence in Circle in the Square. Well actually I do know what to say, it's not quite ready for Broadway. The show, about 4 friends returning from a year at college to pull a prank at their old high school, but end up pulling the biggest prank of all, on themselves.

The story and characters are cliched messes, using stereotypes of what the writers think the characters are instead of exploring the truth in them. The characters could be rich and full, instead we are left with a gay one(Jack), a jocky one(Andy), an intellectual one(Skip), and one that doesn't want to grow up(Will). And we only get one dimensional versions of those characters. I wonder if it's just because I was so far detached from the story itself, having been out of high school for more than a year, and not really giving a rats ass about trying to seek revenge on the people who were mean to me in HS, that I didn't care, or was it the characters stunted growth on stage that made me not care. I think probably equal parts apathy and growth.

The songs, the songs, the songs, there is potential there, young Nick Blaemire has written some charming songs, and some songs overwrought with youth cliches(I know I keep using the word cliche, but to be cliche there is no other word to describe it). What Diablo Cody managed to do successfully with Juno Blaemire, falters here. The worst song was "We Got Girls" which was about how Will and Andy know the secret to scoring with girls, and how they have girls "by the balls". Then there are songs that have the potential to be fantastic messages of tolerance, anthems of empowerment, "Other Human Beings," a song sung by Andy and Jack, after Jack finds out Andy isn't okay with him being gay, and Andy calls Jack a faggot, and how you can't call people names, and how Andy lost a friend for life and how those shoes totally don't go with those pants, and how The Wizard of Oz is the best movie ever, and oh yeah other human beings don't treat other human beings like that. Or something.

I have to give some credit to Jesse Vargas for putting together such tight harmonies, even if every song sounded like it had been cut from RENT. The whole time I was expecting the cast to walk up to the front of the stage holding hands and scream "No Day But Today" while panning a video projector out across the audience. I understand the void that the closing of RENT is going to leave in lots of people's lives, but I don't think we should try to fill that void with something that is kind of like it, but not as good, and just kind of treat RENT like that ex-girlfriend/boyfriend that helped you learn about yourself and your love of musical theater. Because if you spend your whole life trying to fill that void, you're going to end up alone, comparing every show to the one that made you love musical theater. Three words for you let, it, go.

The performances were okay, given the weak material they had to work with. I wouldn't really say that there was one stand out performance, each character had it's moments Jesse JP Johnson as Jack seemed to be the only character that managed to go on any kind of journey at all, growing as a person. Steven Booth as Will got annoying, always bringing things back to "What they did to us in HS was terrible" us being the football team, even though we never fund out what they did to them, and I was kind of over his character within the first 20 minutes of the show. Andrew C. Call as Andy the jock, seemed to be hiding something, and it would have made me like his character more if he would have opened up, they even sang a song about how no one really knew Andy at all, because he was guarded, and that is exactly what I got from him, the show would work better if he had reveled something, it would have made me understand why he was friends with them in the first place, Mr. Call's performance was made up of spouting catch phrases such as "totes" and saying fuck too much, oh and talking about getting laid, it was less of a character of a jock and more of a caricature of one. Finally the only person in the cast whom I felt actually believed in what his character was saying Adam Halpin as Skip, he embodied his character's philosophy, and made me somewhat care for him, I don't know if it was because he was the only realistic character in the whole show, or if he just exuded something the other actors lacked, but his performance was the best.

This show is a jumbled mess. Granted it was only the first preview that I saw, but there needs to be some major rewrites to fix consistency problems in the script, one of the biggest inconsistencies that my friends and I noticed was how Andy reacted to Jack being gay. He was freaked out at first, then Will calmed him down and said for his sake let it go, and then in the next scene during a song, they were singing and looking like nothing was wrong, later when there is a scene with Jack and Will alone, Will tells Jack that Andy thought Jack had been lying to him, that never happened, and then it was brought up again later in "Other Human Beings". Little things like that. The writers need to flesh out the characters more in order for the story to go anywhere. And something needs to be resolved, and Will needs to grow as a person, granted it all takes place in a night, but you can have a character at least learn something. Will learned nothing, and was still as annoying at the end as he was at the beginning. Overall I feel that this show would be more suited to an off-Broadway stage, because like it's characters, it isn't quite ready for the big time.

Everyone's Favourite Bathhouse!

I did myself a favor and went to see the new revival of Terrance McNally's The Ritz on Friday. I had no prior experience with this play, but I think that was a good thing, because I didn't have anything to compare it to. Now that I've said that, I found the play amusing and entertaining.

I am not really a play person, I have always been more attracted to musicals, but I can always go for a nice sexual farce every now and again. I can see how with the original 1975 production it was kind of ground breaking, showing a side of gay culture that not that many people got to see. Now the bathhouse thing is a bit disturbing now with the prevalence of AIDS and various other sexually transmitted diseases. But it is kind of jovial to look back at a time when people really didn't think about that kind of thing.

The plot is a little dated yes, but there were some updates to McNally's script like the fact that they took out most of the sexually transmitted disease references, which was a good move by director Joe Mantello(Wicked).

The basic plot outline is Man's in-laws hate him, dying father's last words are "Get Proclo" Man's brother in law is going to kill him, Man hides out in gay bathhouse. Man has intolerance for gay people, crazy over the top gay says something, man loves gays now, crazy bathhouse singer wants to be famous, crazy singers back up dancers trick her into thinking man is producer. Singer tries to jump man's bones, man freaks out, brother in law finds him, man dresses in drag, Man's brother in law is about to kill him, Man is like "I'll kill you" Man and Brother and law make up, the end. That is about it, simple plot a lot of running around on the set, the end.

Rosie Perez was great as crazy bathhouse singer Googie Gomez. A lot of times she spoke too fast and it was hard to understand her, but for the most part she was amazing. The best part of the show was Googie's night club act where she proceeded to sing a medley of some of the most random songs ever. Though in the second act her character kind of stalled, which I don't fault Ms. Perez for, that I blame on the direction and script writing.

Kevin Chamberlin is capable as Guy Proclo, though I would have liked to have seen a more believable character from Chamberlin, because I know he can do better. His character was pretty constant throughout the piece, all except for the weird self-realization that gays are normal moment in act one(which was kind of random and came out of nowhere and was in my humble opinion a bit preachy, they should have saved the realization moment for the end where it would have made more sense).

The most credit has to go to Brooks Ashmanskas who played Chris the over the hill gay man with a ferocious sexual appetite. By far the best written character, and the one who had the best part in the show. It is strange to think of F. Murray Abraham originating this role. Ashmanskas was brilliant and I would go see the show again to see his what I am hoping is at least a Tony nominated turn if not Tony winning.

The show is a massive undertaking which probably worked well when it opened in the 70's but seems a bit dated here. But in typical Roundabout fashion they know how to bring in big names and sustain your attention for the two hour performance. The only major complaint that I have was that the seats were too close together and that there was not enough leg room. I am a tall guy and am used to suffering for my hobby, but this was insane.

It's A Jolly Holiday With Mary

Having grown up with the Disney version of Mary Poppins, it seems only fitting that I should fly to the New Amsterdam Theater in the heart of Times Square to see the much anticipated stage adaptation.

The musical production which was a joint venture between two of theater's heaviest hitters Cameron Mackintosh(Les Miserables, Phantom of the Opera) and Disney Theatricals(The Lion King and Beauty and the Beast), is what it promised to be, a knock out production. The joint venture is a very odd one, considering that either production company could have managed the production on their own, but Cameron Mackintosh owned the rights to the stage adaptation(from the books) while Disney owned the classic songs(from the movie), they decided to morph the two together, and give audiences a more fleshed out Mary Poppins and Banks family.

As most of us know the story of Mary Poppins is a simple one, two children who cannot behave and who go through nannies like most of us go through undergarments, are trying on their parents last nerves. The children request what they would like in a nanny, and poof, Mary Poppins(played by the more than capable Ashley Brown) appears and let the fun begin. Mary teaches them lessons, they learn a little, become better people, find their parents love, and ta-da the story gets wrapped up in a lovely bow!

Credit must be given to Bob Crowley for his amazing sets. I am surprised that at the end of the show they didn't bring the set out for applause. It amazes me the things that they can do with sets. I was transported back to watching the movie when I was 8. But I guess that is what the show is supposed to do for you.

There was one scene that alluded to the darker tones of the book series by P.L. Travers. One in which Jane and Michael Banks are arguing over a toy and they rip the sleeve of the doll, and shove it in a doll house. All because they lost their temper. A creepy hand then comes out of the dollhouse and reaches for the children and soon a life size version of the doll comes out, and the children get put on trial for losing their temper. This scene could be frightening for children under the age of 4(probably why they are not allowed to come into the theater). But it is not as bad as some have made it out to be.

Ashley Brown is lovely as every one's favourite nanny. She does tend to do a Julie Andrews imitation, I am more partial to the UK original Laura Michelle Kelly who brought something original to the part. Gavin Lee is amazing as the chimney sweep Bert, managing to fill the shoes of Dick Van Dyke very nicely. The most impressive feat by Mr. Lee is the tap dance across the proscenium arch of the stage during the musical's best number "Step In Time."

Rebecca Luker is charming as Mrs. Banks, but I am not pleased with the direction that the book writer has taken her character. In the movie she was strong and a beacon for feminism when it was not deemed lady like. The stage Mrs. Banks seems to depend on her husband and places all her self-worth on being someone else's wife. This fact made most evident during the song "Being Mrs. Banks." She gives up her life as an actress to raise her family, and when her husband offers her the chance to go back to work, she smiles and says "I've found a better job, being a mother" *yawn* Whereas the movie pushed Mrs. Banks forward, the stage Mrs. Banks takes 300 steps backward and becomes a character that I ended up not admiring, and she's sending the wrong message to the thousands of children that have seen the show over the past year. "It's okay to stay at home and cook dinner and be passive and not speak for yourself." I am not knocking women who chose to stay at home and raise their families, but you shouldn't let yourself fall into the common stereotype of being the weaker sex.

The production numbers were amazing, and as I said before so were the sets. The production was family friendly and albeit some of the scenes were a tad scary for the younger set, I highly recommend this production.

Can You Hear The People Yawn

There are a few shows out there in the realm of theater that have a bizarre effect on people, no one knows why, people are just drawn to them like a magnet. Les Miserables, now enjoying a open ended "revival"(I use the term loosely) at the Broadhurst Theater, happens to be one of these shows.

The musical which is very loosely based on Victor Hugo's massive novel has a strange appeal that I have yet to understand. The whole show is filled with sentimental songs and emotionally maniplutative material. I went because it is one of those shows that you are supposed to see much like Phantom(which I will be seeing within the next month or so). But I could not get over how much of a letdown the show as a whole was. It was too dramatic and over the top, and we were supposed to feel bad for the characters and connect with them, but most of them left me feeling cold.

I also couldn't get over the fact of how the police officer Javert, could not let one stupid ass grudge go, he seemed too desperate, and when he offed himself at the end, I was glad to see his character be gone from the stage, I only wish he had done it sooner. And can someone please tell me how Jean Val Jean could keep getting out of being arrested? He would just be like "Oh I left the stove on, time to leave!" Whaaaaaa? The whole thing was too unbelievable and stupid that I was just waiting for his next excuse, and if Javert was so intent on capturing him, then why did he keep letting him go? Uh durrrrr, he's right there, it's not like he called you on the phone.

The performances were good, I have to give a huge props to Ivan Rutherford as Jean Val Jean, to sustain that level of performance night after night, amazing! His rendition of "Bring Him Home" was probably the highlight of the night. The whole cast deserved a round of applause, except for Ali Ewoldt as Cosette, her voice was grating and not up to par with the rest of the cast, and Ann Harada as Madame Thénardier, while I enjoyed her in Avenue Q, she was miscast here as the innkeepers wife.

Another plot nitpick was the fact that Cosette and Marius fell in love within two seconds, wtf? And the fact that Cosette was something like 8 when Jean Val Jean took her away, yet she seems to have amnesia and doesn't remember when he took her. Yeah I believe that, I remember stuff from when I was 4 how could I not remember a huge life changing event from when I was 8 or 9? Surely you jest! Also, why was there no explination about Gavaroche being Eponine's brother? Hurrrrrrrm?

The show was what it was supposed to be, big sets, big songs, big costumes, bit lighting, and a big disappointment, much like Wicked, the show is meant to be consumed like soda and not wine.

Super Secret Agent

I was fortunate enough to see a production of a wonderful new musical Sympathy Jones. Now after having seen Kate Shindle in Legally Blonde, I knew that I had to catch her in this new girl power musical. And although it's a work in progress, the pieces that are there already are great.

Sympathy Jones tells the story of a secretary at a spy agency called "The Agency" who wants nothing more than to be a super spy. Then one day when a fellow employee accidently leaves a "Top Secret" folder containing his latest assingment, she jumps into action and helps to unfurl a plot to freeze time and take over Washington DC.

The show was of course a workshop production, but despite some of it's obvious flaws, it has great potential, especially since the era of the "girl power" musical is coming to the forefront of musical theater. The songs were clever and catchy, and the plot was fun.

The performances were amazing, but special credit has to be given to Kate Shindle who belted the role as if she weren't doing 8 shows a week over at Legally Blonde. I am surprised that she could even manage to croak out a note after the vocally demanding "Legally Blonde Remix." If this does get a commercial production, they would be severly mistaken if they did not cast Miss Shindle in the role of Sympathy Jones.

I won't really delve into the bad stuff, because it was a festival show. But it does need some rewrites in order to make the show passable. But for what they have right now it's a good start.

We Love Spelling

I have already seen The 25th Annual Putnam County Spelling Bee, with most of the original cast, so I am always hesitant to see something with replacements, or in some cases can't wait to see something with replacements *coughMaryPoppinssansAshelyBrowncough*. But I was pleasantly surprised with the new cast of Spelling Bee.

Most of the cast hails from the shows first national tour, so they are no strangers to the roles they are now portraying on the Broadway stage. And in some cases some of the cast brings something new to the role that I had not seen with previous cast members. Stanley Bahorek as Leaf Coneybear brings more of a space cadet quality to the role than did he predecessors Barrett Foa and Jesse Tyler Ferguson. Granted Leaf is the type of character that could be overplayed very easily, and Mr. Bahorek brings a level of goofiness to the role that is not over nor underplayed, but played to perfection.

Other cast standouts are Sara Inbar as Logainne Schwartzandgrubiennaire, her performance was the most striking to me. She had a great stage presence and it surprised me to find out that she was getting her Masters in teaching from Columbia University's Teaching College. I guess being uber talented doesn't always mean that you will find steady work as an actor and she is getting her teaching degree so that she can continue to inspire others to pursue greatness. Wow that last line was really hokey I apologize to my few readers out there for that lapse of judgement and corniness.

Aaron J. Albano is good as Chip Tolentino the young speller with an "Unfortunate Erection" but his voice lacks the power and umph that Jose Llana's did. But his performance was enjoyable nonetheless. The same could be said for Jenni Barber the show's new Olive Ostrovsky. Her portrayal was sweet, but almost too sweet to handle the vocal demands. There were times during the show where I couldn't hear anything she was singing/saying. Jared Gertner as William Barfee was amazing, I think this may be one of those parts that is written so well that it is almost actor proof, but he brought something new to the role, his Barfee was less annoying and more funny than the previous incarnations I have seen. And Greta Lee as the overachiever Marcy Park was good, but lacked the certain vocal punch that is required for her song "I Speak Six Languages" but gave an otherwise amazing performance.

Spelling Bee seems to be one of those shows that doesn't need to have big names in it for it to be a continued success. Granted it's not selling out anymore, but I don't think that it's on it's last legs either.

I do have a couple bones to pick with this show though. 1. Whomever is playing Mitch Mahoney, the Comfort counselor, he needs to lay off on the riffing and just let William Finn's score speak for itself. This is most evident in "The I Love You Song" he freaked out riffing and messed up the entire tonality of the song. 2. "The I Love You Song" can someone please tell me why this song is in the show? The show is riding high on laughs, then BAM! sadness times 20. It kind of brings down the whole mood of the show. Granted as a stand-alone number the song is beautiful, but within the confines of the show it tends to baffle and confuse the audience.

Overall I say the new cast that inhabits the "gym" of the Spelling Bee is more than capable of handling the show, and I hope to see the show run for at least another couple of years.

I Am Wal-Mart?

Walmartopia the new musical which made it's preimere at The New York Musical Theater Festival, has undergone a makeover and is now in an open-ended commercial run at off-Broadway's Minetta Lane Theater. I loved the concept of the musical, but there was something not quite right about the production. The songs were there as was the talent, but it seemed to drag on and on. I found myself looking at the program wanting to know what the next song was, not because I loved the score, which for the most part was passable, but because I was counting down the songs until both intermission, and the final bow.

Walmartopia is the story of a mother(Vicki) and daughter(Maia). A mother who works at Wal-Mart, and keeps getting passed up for promotions to her male counterparts, something that actually happens and Wal-Mart has been sued for. She is so grossly underpaid that she and her daughter, whom also happens to work at Wal-Mart for the summer, have to be on welfare and the state health insurance program because they cannot afford Wal-Mart's health insurance, oh yeah and did I mention they live in a hotel? When there are rumblings of a union organization starting to take place, Vicki not wanting to ruffle any feathers warns her daughter not to get involved. Vicki then goes to meet with her manager only to find out that she is being passed up once again by a younger male co-worker. Wah wah, such is the tragedy of her life, you'd think for as good of a worker as she is, she would be able to find a job somewhere at a Target, or even a Starbucks(where they pay your health insurance, and pay you more an hour). But no she submits herself to the torture of working at Wal-Mart. Vicki kind of reaching the point where she has had enough decides to join the union movement at her store.

The story gets even weirder when Vicky and Maia get picked to be in a paegent to represent the women of Wal-Mart, a PR move to focus their attention away from their impending sexual discrimination suit. *Yawn* Anyway, they have a chance to talk with the Wal-Mart Chairman of the Board, Mr. Smiley(clever I know), about forming a union at Wal-Mart. Then they see the head of Sam Walton which can talk and is attached to a moving wheelchair unit. Yep I just typed that, Sam Walton's head. They get thrown into the future to prevent them from talking. They arrive 35 years in the future where Wal-Mart is supreme ruler of the world, except for in Vermont which has declaired itself a historic preservation zone to prevent Wal-Mart from coming in to build.

Vicki and Maia both get thrown into Prison-Mart(very uncreative) and then meet a prisioner Zeb, who works for Wal-Arts(Yawn), which produces all forms of entertainment in Walmartopia. He convinces the artistic director to give them a job as actors in Wal-Arts' newest production, about support for the war in Vermont. Wah wah. Maia speaks out and gets thrown back into prison, and Vicki gets worried because she doesn't want to ruffle feathers again. Long story short, very short, Vicki gets over caring about not causing a stir and starts fighting for herself, she then speaks out against the evil voices in Walmartopia and leads people to follow their dreams, which shatters Wal-Marts hold on the them. Vicki and Maia stay in the future and lead a crusade against Wal-Marts worldwide. Yay for happy endings!

The score was good, but some songs needed to be cut. It was almost a contrast to the book of the musical because of the fact that all the songs were soulful and belty for the most part and I wanted something comic and light. I mean I liked the score as a stand-alone piece but not in relation to the musical. The book was full of lame jokes that missed more than they scored. The most I laughed all night was when Vicki messed up one of her lines during the lead-in for a song.

The performers talents were wasted on this show. It was lacking so much for something with so much potential. I guess this new commercial production did what most of us do growing up, we don't live up to our potential. I went in with high hopes but they were not upheld. Go see Walmartopia if you are mindless, but don't see it if you like being entertained. It does look like the official website is no longer up and running, so it leads me to believe that the show will be closing sooner than opposed to later.

Toledo Surprise . . .

I think in opting to see The Drowsy Chaperone as late as I did was a slight disadvantage to me. It was one of those shows that was on my "to see" list, but then other things came out that I wanted to see more, and well, I finally got around to seeing it, and after much fanfare and hooplah, I was severely disappointed.

For a show that has all the potential in the world with the right cast, can someone please tell me why the producers decided to cast Mari Davi as Janet Van De Graaf? She lacks a certain star quality that the role should posses. But I guess a lot of a show depends on it's performers. Where as some shows such as Les Miserables and Phantom of the Opera can run forever, changing casts more often than some people change their underwear, and it still manages to sell out, the same cannot be said for The Drowsy Chaperone; which seems to be on it's last legs.

Ms. Davi is not a terrible performer, but she is not suited as the leading lady of this show. She would have fared far better as a chorus girl. Some people are meant for bigger and better things than the chorus, others are not. Her Janet was well acted and sweetly sung, but there needed to be something more substantial there in order for the audience to relate to her and like her as a character. There were parts of the show that I knew were supposed to be funny, but unlike Sutton Foster, Ms. Davi lacks impeccable comic timing, which is required for the role.

But thankfully if you do end up making the mistake of seeing Drowsy, you can see Beth Leavel as The Drowsy Chaparone, the role that won her a much deserved Tony, and you'll be able to see Danny Burstein as Aldolpho. Both performers were standouts and made the evening enjoyable. Ms. Leavel's rousing anthem "As We Stumble Along" was the shows highlight. And Mr. Burstein's "I Am Aldolpho" was a comic masterpiece.

Jason and Garth Kravits as the Gangsters were amusing. As were Gerry Vichi and Jennifer Smith as Feldzig and Kitty.

The standout of the show had to be Patrick Wetzel whom as an understudy mastered the role of Man in Chair. I was glad that I got to see his performance as Man in Chair, because it was so genuine and made elements of the show that I didn't like more fun. I kind of wish he would go on every night. He was great and I hope to see him in more things in the future.

Jo Anne Worley was kind of disappointing as Mrs. Tottendale, a part that I don't like much, but was hoping for something great from Ms. Worley. I feel that she would have made a better Chaparone, because it seemed as though she was miscast.

Overall it was not a terrible production. but like so many that occupy the Marquis Theater, require star power. And that was something that this show was lacking.

You've Gotta Be Legally Blonde!

It's taken me awhile to go see the newest tween musical phenom Legally Blonde, but it was worth the wait. I must say that after listening to the cast recording on repeat for the past couple of months, I was surprised and delighted by the score as if I were hearing it for the first time.

Credit is to be given to Jerry Mitchell the Tony award winning choreographer for his turn wearing the double hat as Choreographer/Director for this rousing non-stop production. I enjoy Mitchell as a choreographer, and his directing kept the action fast paced. I can see how if the show had another director it could have been bogged down, but the constant action and singing made it highly enjoyable.

The sets were minimal, and at times I wanted to see big flashy set pieces, but the lack of sets was intentional for the amount of dancing that was incorporated into the show.

Laura Bell Bundy has arrived as Elle Woods, the part made famous by Reese Witherspoon in the film version. I had seen Bundy in the original cast of Hairspray, and enjoyed her as mean girl Amber Von Tussle, but feel that her role as Elle has cemented her as a bonafide star. Bundy is charming as Elle, and her great comic timing make her perfect for the role. Bell has stated in interviews regarding landing the part, "I knew that I was right for this part, and if I didn't get it, I should give up acting." Truer words were never spoken. Bundy is perfect for this part. She delivers all her lines with a sweetness and determination that make us grow to respect her portrayal of Elle, and her singing voice shows a range that I never realized about the young actor. Her belt is amazing, something that before now she has not been able to show off. Her dancing is also spot on. The best example is during the high power number "What You Want" which manages too incorporate a marching band and cheerleaders. Who would have thought that it would have worked as well as it did.

Andy Karl was on for Emmit the night I saw the production, and normally I am slightly disappointed when someone whom I had been looking forward to seeing(Christian Borle) is out of the show, I was surprised by Andy Karl's portrayal of Emmit. Which was different than I was expecting. I have read so much about the new Emmit being less sexy than he was intended to be in the movie, and more of an everyman. Karl did a good job of emphasizing the everyman aspect of him, but the sexiness thing he needed to tone down a little. Karl who usually plays the UPS guy was charming. His voice was a little weak for the songs, and he cracked several times. But we all can't be perfect every night(right Idina Menzel at theTony Awards).

Can we please get something out of the way before I go any further in this review? Michael Rupert as Professor Callahan, yikes. There is something so odd about his voice. It seems as though it's from a different era. I was so irked by him the whole time that I wanted to run up on stage and push him off and let an understudy go on so my ears would stop bleeding. His character is lifeless, and his song was uninspired. Overall I think they could have worked more on the character and written him a different song.

Orfeh, won me over. I have never really been a fan of hers, but her Paulette was hysterical and her belt was out of control. Having only heard her sing before I was not a fan, but now I see why her Tony nomination happened. She brought something new to the role, she played it less clueless than Jennifer Coolidge did in the film, she was just a loud annoying woman who happened to have a heart of gold.

Richard H. Blake perennial bad guy was great as Warner, Elle's ex boyfriend whom she follows to Harvard Law, in the hopes of winning him back. Poor guy is always cast as the villain, oh well, at least it keeps him working, and he gets some of the best moments in the show.

Kate Shindel Miss America 1998 shines as Vivienne Kensington, the evil fiance of Warner who at the end of the musical has a change of heart and belts the crap out of "Legally Blonde Remix" Though the sudden loathing to loving of Elle by Vivienne is rather shocking and kind of absurd, Shindel shines. I expect to see more from her in the future.

The three Delta Nu sisters played masterfully by Tracey Jai Edwards, Asmeret Ghebremichael, and Annaleigh Ashford, were fun and added some spunk to the ensemble. Ms. Ashford was by far the best of the three, and also the only remaining of the three sisters who originated their roles. She makes the phrase true that there are no small parts, because she rocked every number she was in. I will most definitely be seeing her in Wicked(a show I promised that I wouldn't revisit, but for her I would).

The best aspect of the show though had to be the dogs. Chico in the role of Bruiser was so adorable that I got distracted from the opening number. And Chloe as Rufus, pure brilliance. I never knew I would be so taken by a pair of dogs.


Overall I would have to say that this production was great. It had it's weak points, but the strengths fully made up for it. Jerry Mitchell showed that he was more than capable to direct and choreograph a show, and I look forward to seeing what he has in store for us in the future. Laura Bell Bundy and Orfeh were standouts and proved to us that Blondes really do have more fun. I highly recommend this show, especially to people who have daughters.